To close the season, the occasional collective Lucinda Ra is organizing an open studio for three days. You are free to come in and out, join the conversations, or just to listen and watch the music, animated films, short presentations, and visual work. The kitchen – which forms the heart of the project – will be open throughout and is free. You can contribute your own ingredients: a ticket for Grondwerk costs 250 grams of food.

Unfortunately, we have to cancel all shows due to an injury of one of the dancers.

In 2017, Salva Sanchis and Anne Teresa De Keersmaeker adapted A Love Supreme with four young, male dancers. This exceptionally vital production was one of the highlights of the last season, and was promptly selected for the TheaterFestival. Join the dancers, and abandon yourself once again to Coltrane’s spiritual ode to divine love!

A man moves carefully between cardboard set pieces. Everything appears peaceful in this stylized paradise, until a sudden rain shower escalates into a destructive deluge. A decade after the première of BLESSED, Francisco Camacho continues to cling to a world that has long been left in ruins.

July 1968. The legendary Paradise Now by The Living Theatre premieres at the Festival d’Avignon. The actors attempted to unleash a revolution by getting the audience into a state of readiness. Half a century later, Michiel Vandevelde is exploring the vestiges of the legacy of May ’68. Will new future perspectives open up when thirteen young people survey a half century of history in a wild choreography of iconic images?

Over the years, Christodoulos Panayiotou has compiled an archive on the ways in which fiction can escape mortality and finitude. From Dalida's most tragic songs to Michael Jackson’s urge to perform one last time. He presents this archive in Dying on Stage. He combines the precision of a lecture with the indeterminacy of night-time internet surfing.

The moon is the moon is the moon deconstructs the structure of a dance trio and exposes its building blocks. Just like the preparatory sketches for a painting, the performance begins with various perspectives and movements. The individual layers that you discover in the choreography invite you to see things in new ways.

How does your perception of a dance or music sequence change when it is combined with a different choreography or a different musical composition? What meanings, impressions and images are conjured, and what unexpected relationships to listening and looking are stirred?

Jonathan Burrows, dancer and choreographer. Matteo Fargion, musician and composer. Always the two of them… but not this time! They invite four local artists – Mette Edvardsen, Dounia Mahammed, Lili Rampre and Andros Zins-Browne – to address the subject of ‘the possibility and impossibility of community’. The ingredients? 72 clay objects created by the performers, group singing and Indian drone sounds on smartphones.

Visual artist Fabrice Samyn installs his seven Breath Pieces around a waiting room. Performers do various things that intensify your awareness of time and focus your attention on the fundamental and uncontrollable nature of breathing. Each section follows a consultable protocol that determines the interactions between performers and audience.

Trials of Money turns the theatre into a court of justice which does not yet exist. You’re invited to take part in the Special Tribunal for Semi-Human Persons in order to undertake the trial of the thing called ‘money’. The trial is conducted as a collective exercise: while the performers deliver their testimonies, they will respond to any question the audience has. Should money be found guilty, it leaves us with a very problematic question: what could be a just sentence?

Achterland (1990) is a pivotal production in Anne Teresa De Keersmaeker’s oeuvre. It was the first time that the choreographer created dance material specifically for men and that she gave musicians a central role on the stage. To the tones of Györgi Ligeti and Eugène Ysaÿe, the minimalism and femininity of her earlier work made room for an ambiguous no man’s land that blurred boundaries and signs. A reprisal to look forward to!

For this ambitious group choreography, Daniel Linehan is delving into Stravinsky’s Le Sacre du Printemps. He has opted to stage the beautiful version for two pianos, which will be performed live by Jean-Luc Plouvier (from Ictus) and Alain Franco. You will be seated near the thirteen dancers and the pianists – a proximity that results in a collective shared energy.

La Piscine is a collective project that gathers different artistic practices and works addressed to a single spectator. Going from a walk with the eyes closed, to a conversation, to a bath, a single spectator and one of the artists will tune to each other to draw a singular path into Les Bains du Centre – at the heart of the Marolles.

Gallop. Biography of a Body tells the bizarre story of the life cycle of a body. Dolores Bouckaert’s co-star in this solo is – via film and audio – a fast and powerful horse. The two are one another’s opposites until they become interchangeable, when the horse’s gallop coincides with the rhythm of her heartbeat.

Mette Ingvartsen aims to explore and expose the fact that pornography has rooted itself deep within our society. In the fourth instalment of her Red Pieces cycle, she mixes physical actions with narrative passages, presenting you with a veritable mental choreography. She again holds up her magnifying glass to sexuality – resulting in an extraordinarily intense production.

Ligia Lewis turns to the colour red – in between love and rage – while asking questions about (re)presentation, abstraction, and the limits of signification. Three performers push their bodies against the boundaries of the theatre while simultaneously showing their humble relationship with it. Exhaustion reaches increasingly high levels on a journey to the stage's essential matter: black. Lewis was awarded the prestigious Bessie award for minor matter.

Elastic Habitat is an immersive installation – you could call it a kind of playground – that invites you to explore, touch, and even carry textile sculptures. You literally inhabit an imaginary body and thus have the time to explore your own identity in an uninhibited, sensory, intuitive way.

Cock, Cock… Who's There? is an unsettling and gripping report by a young woman who researches intimacy and violence. Armed with her camera, Samira Elagoz sheds light on the online manipulation of bodies, while cleverly subverting typical gender dynamics on the internet.

What is happiness? In what dark and remote corners do we have to crawl individually and collectively to find it? Together with dancers from the EnKnapGroup, Pavol Liska and Kelly Copper have created a bizarre, painful and hilarious horror comedy about voracious expansion in the Wild West and all the violence that ensued as a result.

Two female bodies entwine until they become only one. Or three? Or… none? Where does a body actually begin? A clear question resounds in this duet that both refers to the tropes of the genre but also transcends them. What does it mean nowadays to be two together?

Inspired by baroque compositional patterns, Noé Soulier has created a piece for four dancers. Set to the forceful piano tones of Bach and Johan Jakob Froberger – composers who always attempted to create musical rhetoric – Soulier researches how we perceive and interpret movements.

We live in an age in which human activity has a profound impact on our physical and ecological surroundings. Nevertheless, these transformations often go unseen. How can we create stories, aesthetics, and spaces of experience to deal with this situation reflectively and critically? Looking for answers, David Weber-Krebs and Jeroen Peeters install a series of hybrid artistic and theoretical interventions in a performative setting.

Benoît Lachambre again asks you to listen to your senses and genuinely to experience the consciousness of your body. Borders between dance and movement gradually blur when a glance, a movement, or the touch of someone in the audience continues to resonate in the choreography.

What would happen if we were to abandon verticality after centuries of walking upright? This question is the starting point of Laurent Chétouane’s new creation. Two male and one female dancer search for new equilibriums in a disjointed setting. A violinist accompanies them live onstage with Bach’s Partita for Violin no. 1 in B-minor.